But the conversation didn’t stop there.

When the conversations shifted to the brain child of our Managing Editor April Reign, #OscarsSoWhite, Lupita had something to say.

We knew we liked Lupita. 

This isn’t the first time the Oscar winner has spoken out about the lack of representation in the Oscars. She took to Instagram weeks ago in alignment with her peers seeking change by saying: “The Awards should not dictate the terms of art in our modern society, but rather be a diverse reflection of the best of what our art has to offer today.”

Like the rest of us, she sees the need for expansion in the diversity of shows in order to better reflect the world we live in. She’s invested in sharing untold stories—much like that of the five African women, bonded together by turmoil and navigating war. The story she’s currently sharing 8 shows a week. 

I feel the change coming in the atmosphere and I’d like to believe it will be greater than changes in membership and voting policies. But until then, we’ll be in formation. We’re going to keep on creating. We’re going to keep on supporting. And here, we’re going to keep on highlighting the achievements and successes of African-American theatre artists on and off the Broadway stage. 

As for Sunday, February 28th. Well, we’ll be live-tweeting “The Wood.”

The post New Broadway Star Lupita Nyong’o talks #OscarsSoWhite appeared first on Broadway Black.

Gurira, who is most notably known as an actress — the star of the wildly popular AMC seriesThe Walking Dead — wrote the play fresh out of finishing her studies at New York University’s Tisch School of the Arts, where she earned her Master’s of Fine Arts. She’s starred on Broadway in the August Wilson play Joe Turner’s Come And Gone but is making her Great White Way debut as a playwright with Eclipsed.

“That’s kind of the thing that excites me the most is the idea that we’re breaking that type of barrier with these types of women and hearing these particular voices on The Great White Way,” she said. “It’s really time to break through those barriers and show that there isn’t a reason for the lack of representation or the under-representation.”

Read the entire Bold & Black On The Great White Way article and view more pictures of the entire cast HERE. Such a great read and gorgeous photography by Marc Baptiste. Below are just a few of our favorites including “Academy Award winner Lupita Nyong’o joined by a stellar ensemble including Pascale Armand, Akosua Busia, Zainab Jah and Saycon Sengbloh, & the playwright Danai Gurira.

The post The Women of Eclipsed Shine in Uptown Magazine appeared first on Broadway Black.

Inspired by Dr. Kings famous 1967 speech “Beyond Vietnam: A Time To Break Silence” which was performed at Harlem’s Riverside Church, MLK Now featured historic speeches by many civil rights leaders performed by some of today’s hottest actors and Broadway Black stars — including Actor and Civil Rights Icon Harry Belafonte, Actor and Comedian Chris Rock, Oscar-Winner Octavia Spencer, Tony Award Winner Lin-Manuel Miranda, Actors Michael B. Jordan and Tessa Thompson, Tony Award Winner Anika Noni Rose, Andre Holland, Condola Rashad and Adepero Oduye.

It was said by the host, Ryan Coogler that the original artist of “Be Free,” J. Cole was unable to perform his own song because it was too painful. So, when Ryan Coogler introduced the performance and said that Anika Noni Rose would be singing the song, we fell out. Watch the entire performance below.

We will include more performances from this event as they become available.

Anika Noni Rose – Be Free

Martin Luther King Jr.’s “Beyond Vietnam” read by Lin-Manuel Miranda

Shirley Chisholm’s Presenditial Campaign Announcement of 1972 read by Condola Rashad

India.Arie – I Am Light

We’ve uploaded a few of our favorite performances & speeches but there is so much more to see & witness. Watch the entire event or skim thru it below! Don’t forget the great speech by Harry Belafonte at the 2:55:00 mark.

The post Anika Noni Rose Sings Be Free By J. Cole + #MLKNow Performances appeared first on Broadway Black.

The first guest joining us on Off-Book is the award winning playwright Dominique Morisseau. Her play, Skeleton Crew, the final installment in her trilogy of plays about her hometown of Detroit, starts previews on January 6, 2016 at the Atlantic Stage 2 Theater.

Skeleton Crew is a tale about how a makeshift family of workers at the last exporting auto plant in the city navigate the possibility of foreclosure. Power dynamics shift and they are pushed to the limits of survival. When the line between blue collar and white collar gets blurred, how far over the lines are they willing to step?

Dominique Morisseau, writer and actress, is an alumnus of the Public Theater Emerging Writer’s Group, the Women’s Project Playwrights Lab, and Lark Playwrights’ Workshop. Among her playwriting credits are: Detroit ’67 (Public Theater; Classical Theatre of Harlem/NBT; Northlight Theatre), Sunset  Baby (Labyrinth Theater Co – NYC; Gate Theater- London), and Follow Me To Nellie’s (O’Neill; Premiere Stages). Her produced one-acts include: Third Grade (Fire This Time Festival); Black at Michigan (Cherry Lane); Socks, Roses Are Played  Out and Love and Nappiness(Center Stage; ATH); love.lies.liberation (The NewGroup), Bumrush (Hip Hop Theater Festival) and The Masterpiece (Harlem9/HSA). Dominique is currently developing a 3-play cycle on her hometown of Detroit, entitled “The Detroit Projects.” Detroit ’67 is the first of the series. The second play, Paradise Blue, was developed with Voice and Vision, the Hansberry Project at ACT, New York Theatre Workshop, McCarter Theatre, Williamstown Theatre Festival, and the Public Theater. Dominique’s work has also been published in NY Times bestseller “Chicken Soup for the African American Soul” and in the Harlem-based literary journal “Signifyin’ Harlem.” She is a Jane Chambers Playwriting Award honoree, a two-time NAACP Image Award recipient, a runner-up for the Princess Grace Award, a recipient of the Elizabeth George commission from South Coast Rep, a commendation honoree for the Primus Prize by the American Theatre Critics Association, winner of the Barrie and Bernice Stavis Playwriting Award, the Weissberger Award for Playwriting, the U of M – Detroit Center Emerging Leader Award, a Lark/PoNY (Playwrights of New York) Fellow, and a recent recipient of the Edward M. Kennedy Prize for Drama. She is an artist that believes wholeheartedly in the power and strength of community.

The post Broadway Black Presents Off-Book: The New Theatre Podcast appeared first on Broadway Black.

And not the “Who made the bad potato salad?” variety.

This reunion has critics and audiences cheering as the Eclipsed cast that riveted theatergoers for 10 weeks at the Public Theater will assemble with lead actress Lupita Nyong’o. This time, they meet for a Broadway run at the John Golden Theatre.

That’s right. Saycon Sengbloh, Pascale Armand, Akosua Busia, and Zainab Jah reprise the roles written by playwright and actress Danai Gurira.  Zombiephiles may know Gurira from her groundbreaking role as the sword-wielding Michonne on AMC’s “The Walking Dead” series.

Eclipsed is a play about endurance and strength for women living through the Liberian Civil War. As previously reported, the play debuted at the Public Theater from September 29 – November 29^th, garnering acclaim and excitement for the Broadway debut.

The original cast has a long list of Broadway theatre credits to their names. Of course, Ms. Nyong’o has that golden statue with the bald head. What is his name again? Oh yeah. Oscar.

The amazing women who collaborated to make Eclipsed also made history. Director Liesl Tommy, Gurira, Nyong’o, and her cast mates, are putting on the first Broadway show to have an all female cast, director and writer. Ever.

Like… Ever.

Previews of Eclipsed begin February 23, 2016, with an official opening March 6, 2016.

As news of the cast announcement hit social media, the elation could hardly be contained. Celebrities have been touting the show’s brilliance for weeks.

Anticipation is building as Gurira dazzles across the talk show circuit. Could the Broadway show deliver during Tony season as well? Time will tell, but tickets for the show are definitely going to be sold out quick. Stay tuned.

The post Original Eclipsed Cast with Lupita Nyong’o Set For Broadway, Will Make History appeared first on Broadway Black.

You don’t get into this business to be you,” he says. “I got into show business because I wanted to dress up as an old man on a park bench. I wanted to be an action hero. I wanted to be the drug dealer. I wanted to be a knight. I wanted to be Robin Hood. I wanted to be whatever else besides Wayne. So playing Lola is as far from Wayne as I could possibly be. A British drag queen who was an amateur boxer? Bingo.

Kinky Boots was deemed “The hottest musical on Broadway” by the New York Times.  According to the website,

Inspired by true events, Kinky Boots tells the story of Charlie Price, who inherits his father’s shoe factory. Looking to save the family business, Charlie turns to a fabulously fashionable new friend — cabaret star Lola— who gives him an outrageous idea that could change both of their destinies.

That outrageous idea is to make women’s shoes for men, which propels the business to success. Brady previously tried out for the role but lost out to Billy Porter. Porter recently left the production to join the cast of Shuffle Along. When the opportunity came back around, Brady jumped at the chance. Of the character, Brady says,

Lola is a very charming, lovely, feisty person who is really just this very deeply hurt, flawed individual,” Brady says. “I think I can bring a warmth to Lola that will be funny and bring all the comedy to it, and then when it’s time to turn on a dime, then that’ll help that.

In preparation for the role, Brady told CBS news,

I’m buying a pair of … heels … because I have enough time right now that I can actually walk around my house and dance around. I don’t want to show up for rehearsals in November and just learn to put on heels.

While he has only been in the role for a few days, his enthusiasm and appreciation for the role are sure to help make sure he shines.

What weekend! @WayneBrady blew the roof off of the Al Hirschfeld! Who is coming to see him strut this week? pic.twitter.com/RhaxLNniIe

— Kinky Boots the Musical (@KinkyBootsBway) November 23, 2015

Kinky Boots is currently running at the Al Hirschfeld Theatre and tickets can be purchased HERE. Let us know what you think of Brady as Lola in Kinky Boots!

The post Wayne Brady Puts On His Kinky Boots appeared first on Broadway Black.

http://youtu.be/zqV2Md6qLsM

When the show closed in January, producers already had plans for a New York return. The opening date and venue have been set: July 12. Nederlander Theatre. The number of weeks: 18.

At the end of its debut run, which began in April 2013, 738 performances and 37 previews graced the Lunt-Fontanne Theatre. The musical frequently reached $1 million a week in box office sales prior to its hiatus; it netted four Tony nominations; and by April 2014, it embarked on a national tour – which is still underway.

Capturing Gordy’s autobiography “To Be Loved: The Music, The Magic, The Memories of Motown,” the musical has had audiences mesmerized by its set list of 66 numbers. CBS Sunday Morning called it “more than a Broadway show… a celebration of music that transformed America.” Other reviews have bcalled Motown:

“A joy ride!” – The New York Times

“Stunning!” – Associated Press

“Something close to a rapture spreads through the audience!” – The New York Times

“Sets the theatre on fire!” – Time Out New York

“This hit machine is running on all cylinders!” – USA Today

Some production and creative changes (casting has yet to be announced) are expected to streamline the show before it sets the New York stage afire again. Yet, it surely will still have a hold on all who participate in listening to “the beat of a generation, the soul of a nation.”

Tickets now are on sale HERE for the West End premiere, which opens February 2016 at London’s Shaftesbury Theatre.

The post Motown The Musical Returns To Broadway Summer 2016 appeared first on Broadway Black.

This year is the 40th Anniversary of The Wiz and we are so thankful that NBC has been showing respect in so many great ways. The newest of ways is in the People.com web exlcusive. You’ll see Stephanie Mills & Shanice Williams along with Broadway musical director Zane Mark. As Mark plays the piano, the two amazing talents duet and sing “Home” with such ease and grace it will blow your mind. We also love that a “Sing, Shanice!” was thrown in there because we were saying the same thing on our end. This is just a piece of heaven.

Stephanie Mills, who was the original Dorothy in the Broadway production of The Wiz in 1975 and for the revival in 1984, will play Aunt Em in NBC’s live production of the musical December 3.

Watch Mills & Williams sing “Home” from The Wiz in intimate performance below. 

The post When Dorothy Meets Dorothy: Stephanie Mills & Shanice Williams Duet “Home” From The Wiz appeared first on Broadway Black.

We previously talked about a run of Head of Passes at Berkeley Repertory Theatre to rave reviews back in May starring Cheryl Lynn Bruce. So, we’re so excited that Tony Award winner Phylicia Rashad has signed on and that this new mounting is a co-production with Berkley Rep. Joining her in the cast of the nine person play includes Alana Arenas (Cookie), Francois Battiste (Aubrey), Kyle Beltran (Crier), and J. Bernard Calloway (Spencer). This is something you do not want to miss. The show is being billed as follows:

Tarell Alvin McCraney, MacArthur Award-winning playwright of the acclaimed Brother/Sister Plays, has written a poetic and contemporary parable inspired by the Book of Job. At the mouth of the Mississippi River, Shelah’s family and friends have come to celebrate her birthday and save her from a leaking roof, but unexpected events turn the reunion into the ultimate test of faith and love. As her world seems to collapse around her, Shelah must fight to survive the rising flood of life’s greatest challenges. 

PHYLICIA RASHAD (Shelah) was last seen at The Public in The Story by Tracey Scott Wilson in 2003, as well as in Helen in 2002, and Everybody’s Rudy in 1999. She is a versatile performer who became a household name when she portrayed “Claire Huxtable” on “The Cosby Show,” a character whose appeal has earned numerous honors and awards for over two decades. While television was a catalyst in the rise of Rashad’s career, she has also been a force on the stage, appearing both on and off-Broadway, often in projects that showcase her musical talent such as Jelly’s Last Jam, Into The Woods, Dreamgirls, and The Wiz. As a dramatic actress, Rashad has appeared on Broadway in August Osage County, Cat on a Hot Tin Roof (also West End), Gem Of The Ocean (Tony nomination), A Raisin in the Sun (Drama Desk and Tony Awards) and Cymbeline. She appeared in Tyler Perry’s Good Deeds, and starred in Perry’s highly acclaimed film version of Ntozake Shange’s For Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf. She made her directorial debut at the Seattle Repertory Theater with August Wilson’s Gem of the Ocean and has directed works at The Ebony Repertory, Kirk Douglas Theatre, Westport County Playhouse, Mark Taper, Longwharf Theatre, and the McCarter Theatre. Rashad has received numerous honorary doctorate degrees and awards for excellence both in theater and television.

The post Phylicia Rashad Will Star In Tarell Alvin McCraney’s Head Of Passes at The Public Theater appeared first on Broadway Black.

Director Michael Oatman re-imagined the hit  play by double-casting the role with both a White and Black “Martin Luther King Jr.”  Yes, a White “Martin Luther King Jr.” During an interview with Kent State on the University’s website he talks about the motivation behind such a decision:

While Oatman understands that the piece may stir some controversy he also hopes that it stirs discussion about America’s original sin: race.  “I truly wanted to explore the issue of racial ownership and authenticity.  I didn’t want this to be a stunt, but a true exploration of King’s wish that we all be judged by the content of our character and not the color of our skin,” said Oatman about his non-traditional cast.  “I wanted the contrast . . . I wanted to see how the words rang differently or indeed the same, coming from two different actors, with two different racial backgrounds.”

Is this even allowed? Technically, yes. The script at the time never explicitly stated that the actor playing Martin Luther King Jr. has to be black (they have updated it since then), however implicitly it makes total sense. Everything Dr. King stood for was making America value the Black body because he was, too, a Black body. I don’t see how casting a White actor to play an historic figure such as Martin Luther King, Jr. was a good idea. The show was brought to Katori Hall via Twitter and she went on to say this;

@ThatBrantDude: neither I or @DramatistsPlayS were contacted about this tone deaf casting choice. I have spoken to the director (1/2)

— Katori Hall (@KatoriHall) October 27, 2015

@ThatBrantDude who “did not think there was prohibition agnst non-traditional casting” @DramatistsPlayS has now included a casting clause

— Katori Hall (@KatoriHall) October 27, 2015

Now I get we are at the point in time where Hamilton exists, that show in particular casting people of color in roles that would otherwise have been for traditionally White actors. As great of a move as that was, it does, unfortunately, open the floodgates for very narrow-minded people to think that roles meant for people of color can now be played by White actors if traditionally (and/or historically) White characters can be played by actors of color. This argument and reasoning however isn’t valid. The reason shows like Hamilton and The Mountaintop exist is to create those opportunities for actors of color that have been short sided by this business- to even the playing field. Not to give White actors even more opportunities. That literally defeats the purpose. It defeats what African-American and other playwrights of color have been trying to do for years.

There is a lesson to take away from the Kent State casting though, even though at times it’s obvious, playwrights should include explicitly the ethnicities of actors they want in their plays. This is something I expect to see a lot more as African-Americans are making their unstoppable reign on and off Broadway this season, and we want to keep it that way.

Sound off in the comments below on your thoughts!

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